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(Theater Review) EQUUS
7.19.05
BERKSHIRE THEATRE FESTIVAL
Main Stage
EQUUS by Peter Shaffer
Directed by Scott Schwartz
July 12-23, 2005
EQUUS is not an easy play to produce. At this point in history, it's almost a relic, a somewhat dated piece of psychological drama forever stuck in its era (the 1970s) partly because of its theme and outlook (a post-Aquarian view of Freudian psychology, freedom, and sexual liberation) and partly because of the 1977 film version starring Richard Burton. The play, or at least scenes from it, have already become cliches of acting classes around the world, and as written, the heavy-handed, expressionist symbolism is antiquated and even a little high-school-ish.
All the more reason to give director Scott Schwartz and his design team credit for a well-rounded, compelling production currently running on the Berkshire Theatre Festival's Main Stage. This well-acted, well-executed portrayal avoids some of the pitfalls, such as the play's preachiness, and deals with some of the more problematic technical challenges -- such as the presence onstage of six horses -- with ingenious stagecraft, set design, and choreography.
In fact, there is a lot to praise about this production, including its swift pace (considering it runs nearly three hours with intermission), its sound design (kudos to Ray Schilke for some apt musical choices, especially the Genesis piece at the movie theater), and the acting. As written, EQUUS is something of a melodrama, presenting actors with the great challenge of making grand statements of philosophy seeming like natural speech. The cast of this EQUUS more than meets the challenge, especially Victor Slezak in the unenviable role of Dr. Martin Dysart. At times Slezak seemed to battle with the role, dropping lines and losing his accent, but he came out swinging in the second act and wrestled it, and the audience, to the ground.
Randy Harrison is excellent as Alan Strang, the disturbed teenager who inexplicably blinds six horses. Again, it's a role that's ridden with cliches, but Harrison plays it believably, and handles the challenge of acting the last quarter of the play in flagrante delicto.
The supporting cast, including Pamela Payton-WRight as Alan's prim, religious mother, Tara Franklin, as Alan's would-be girlfriend, Jill, and John Curless, who nearly steals the show in the role of Frank Strang, Alan's tormented, hypocritical father, also deserve kudos.
But mainly, Scott Schwartz deserves the most credit for assembling an intelligent, thoughtful production, one that doesn't shy away from the play's inherent challenges, but rather accepts them for what they are, and looks to reinvent EQUUS for a new age, breathing new life into a play that previously seemed destined for the nostalgia circuit. Not to beat a dead horse, but as Schwartz shows so eloquently and elegantly, there's life in this EQUUS, yet.
Seth, A very thoughtful review and great show! This is what we feel Theatre should be, something that really challanges both the actors and the audience. What a marvelous production.
7/21/2005
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